Fashion in the Middle Ages

Dress, 2007

Textile History, 2016

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Manuscripta, 2012

Renaissance Quarterly, 2019

pages goes, "Liefde baart kunst" (Love gives birth to art [364, 384]), but other powerful motives were fame and wealth (391-92). Much attention is paid to the last of these. Italian and Japanese erotica are explained as products of capitalism (103). The final essays focus on the marketplace: Woodall discovers economic motives in an album amicorum; Lisa Rosenthal compares kinds of possession in Frans Francken's cabinet painting with the episode of Odysseus discovering the boy Achilles; Natasha Seaman represents "desire by candlelight" via Honthorst's avaricious Old Woman with Coins-identifying her as a procuress and supplying a context of lewder images. Here and elsewhere, the technique might be called invisible iconography, supplying the absence of attributes and characters common in other treatments of the theme. Rodney Nevitt interprets Vermeer's Milkmaid as a biblical Martha (though Jesus and Mary are nowhere to be seen), as a Madonna Lactans, and as a Caritas (though she is preparing bread-and-milk pobs rather than breastfeeding). Readers can make interesting connections among the twenty-one essays. For example, Marco Aurelio Severino said of inflamed lovers that "a trunk, a rock, a twig, a tree may appear to them to be the beloved woman" (32, cited by de Boer), which throws additional light on Melion's epic study of the "anthropomorphic" faces that he sees in drawings and a print by Hendrick Goltzius. Odell's figure 4.9, a woodcut of the Visitation designed to convert the Chinese, is copied exactly from Chorpenning's figure 14.3, an engraving by Hieronymus Wierix. These useful essays take us deep into the details of Dutch material culture, and into multiple disciplines: Margit Thøfner's study of a devotional print includes a musical score by Cornelis Verdonck. The volume moves centrifugally away from "the related themes of lovemaking and image-making in the visual arts" (rear cover), but the distance is made up by the breadth of local knowledge and insight.

In: European Art and the Wider World 1350–1550, edited by Kathleen Christian and Leah R. Clark. Manchester, Manchester University Press, 2017

Parergon, 1994